孙氏八卦剑谱 – Sun Style Ba Gua Sword

孙氏八卦剑谱

(一)乾卦:1.蛰龙翻身。2.天边扫月。3.扫地搜4.白猿托桃。

(二)坤卦:1.日月争明。2.流星赶月。3.青龙返首。

(三)坎卦:1.天边扫月。2.仙人背剑。3.仙人换影。

(四)离卦:1.日月争明。2.白猿偷桃。3.仙人脱壳。

(五)震卦:1.白蛇伏草。2.潜龙出水。3.青龙探海。

(六)艮卦:1.黑虎出洞。2.白蛇吐信。3.青龙截路。4.白猿偷桃。5.仙人入洞。6.日月争明。

(七)巽卦:1.叶里藏花。2.叶里藏花。3.叶里藏花。4.猛虎截路。

(八)兑卦:1.片膀。2.回马剑。3.回头望月。4.仙人钓鱼。

Sun style Ba Gua Sword

  1. Heaven trigram (Qian Gua, )

    1. Sleeping dragon overturns body (蛰龙翻身, Zhe long fan shen)

    2. Sweeping the moon at the horizon (天边扫月, Tian bian sao yue)

    3. Sweep the ground to search the root (扫地搜, Sao di sou gen)

    4. White monkey holds up peach (白猿托桃, Bai yuan tuo tao)

  2. Earth trigram (Kun Gua, )

    1. Sun and Moon dispute who’s brightest (日月争明, Ri yue zheng ming)

    2. Falling star overtakes the moon (流星赶月, Liu xinggan yue)

    3. Green dragon turns head (青龙返首, Qing long fan shou)

  3. Water trigram (Kan Gua, )

    1. Sweeping the moon at the horizon (天边扫月, Tian bian sao yue)

    2. Immortal carries the sword (仙人背剑, Xian ren bei jian)

    3. Immortal changes shadow (仙人换影, Xian ren huan ying)

  4. Fire trigram (Li Gua, )

    1. Sun and Moon dispute who’s brightest (日月争明, Ri yue zheng ming)

    2. White monkey steals peach (白猿偷桃, Bai yuan xian tao)

    3. Immortal escapes the shell (仙人脱壳, Xian ren tuo ke)

  5. Thunder trigram (Zhen Gua, )

    1. White snake hides in the grass (白蛇伏草, Bai she fu cao)

    2. Submerged dragon emerges from the water (潜龙出水, Qian long chu shui)

    3. Green dragon explores the sea (青龙探海, Qing long tan hai)

  6. Mountain trigram (Gen Gua, )

    1. Black tiger exists cave (黑虎出洞, Hei hu chu dong)

    2. White snake shows his tongue (白蛇吐信, Bai she tu xin)

    3. Green dragon cross the road (青龙截路, Qing long jie lu)

    4. White monkey steals peach (白猿偷桃, Bai yuan xian tao)

    5. Immortal enters cage (仙人入洞, Xian ren ru dong)

    6. Sun and Moon dispute who’s brightest (日月争明, Ri yue zheng ming)

  7. Wind trigram (Xun Gua, )

    1. Hide the flower in the leaf (叶里藏花, Ye li cang hua)

    2. Fierce tiger crossing the road (猛虎截路, Meng hu jie lu)

  8. Lake trigram (Dui Gua,)

    1. Shave the upper arm (片膀, Pian bang)

    2. Returning horse sword (回马剑, Hui ma jian)

    3. Look back at the moon (回头望月, Hui tou wang yue)

    4. Immortal fishing (仙人钓鱼, Xian ren diao yu)

Six Harmonies (六合 Liu He)

The 6 harmonies are an essential element in Xing Yi, Ba Gua and Tai Ji although slightly differently interpreted in the three arts. Harmony (合) is one way to interpret it. Union, integration and coordination are other valid alternatives. He means “brought together” or “unified”. It is different from 和 which also means harmony but does not have the meaning of unification. At the same time 合 is different from hun (混) and rong (融) etc. which means to completely merge/blend.

The six harmonies is a more detailed way of describing whole body power (Zheng Ti Jin, 整体劲). It is divided into two aspects: one external and one internal. External points to the physical and internal points to the psychological or the subjective experience. The six harmonies are a wonderful way to start learning and embodying whole body power and a very good and clear map when practising standing and movements. The idea is to coordinate the body with regards to the relationship and connection between hands, feet, knees, elbows, hips and shoulders as well as the coordination of the mind with regards to desire, intention Qi and force enabling the practitioner to engage and act wholeheartedly.

Sun Lu tang says:

The mind is internal, yet its reasoning extends to all things. Things are external, yet their principles are all there in the mind.” The intention comes from the mind. Therefore when the mind’s intention is genuine within, effects will manifest externally, internal and external always operating in unison.

Your mind and energy are stable. In observing the active, there is the passive. In observing the passive, there is the active. Passive and active are united with each other. Your upper body and lower body coordinate with each other. Inside and outside are one. These are called the “six unions”. Although they are called six unions, this is actually the internal and external united with each other. Although we say the internal and external are united, it is actually the passive and active aspects united with each other. With the union of the passive and active aspects, san ti (the three substances) are born.

The three internal harmonies – 內三合

  1. Unification of heart and intention (心與意合 xin yu yi he).
    Sun Lu Tang says “If your mind is not uniting with your intention, then being off by a hair will make you miss by a thousand miles.”1
  2. Unification of Intent and Qi (意與氣合 yi yu qi he).
  3. Unification of Qi and force (氣與力合 qi yu li he).

Heart refers primarily to desire/will here. Although heart is mostly translated as mind this translation is a bit too vague to use here – especially since intention is also a “mind quality”. Union of heart and intention means the willingness, the longing and the desire goes together with the focus, the intent, and aim.

Qi here means the experience of connection. When the body is connected there is a feeling of aliveness and a kind of field of energy. Union of intent and Qi means that when the intent is there, the whole body goes along with it.

Force refers to action and is the final manifestation of of the internal unification. It refers to both physical force as well as mental force.

Another saying is that “When intention is there, qi and power is there also” (意到 Yi dao, 气到 Qi dao, 力到 Li dao)

There are several other internal aspects that are not part of this description such as spirit (神, shen), comprehension ability (悟性, wuxing), changeability etc. but the three internal harmonies are the foundation for discernment and cultivation of these other qualities.

Three external harmonies – 外三合

1. Union of hip and shoulder (肩與胯合 kua yu jian he)

Your shoulders loosen with an energy of drawing in. Your hips also have an energy of drawing in.”2

2. Union of elbow and knee (肘與膝合 zhou yu xi he)

Your elbows have an energy of hanging down, but must not noticeably do so. Your rear elbow has an inward bend, but it must not be a dead bend, it should have a rounded fullness like the shape of a crescent moon. Your knees have an energy of covering inward, but must not cover noticeably.”3

3. Union of hand and foot (手與足合 shou yu zu he)
Sun Lu Tangs says:4

“Your heels equally have an energy of twisting outward, but must not twist noticeably.”
“With both hands, all the fingers are spread and must not be together.”
“For each hand, the tiger’s mouth between the thumb and forefinger makes a semicircle shape. “

One aspect of this is that hand and foot arrives simultaneously (手脚一快到 Shou Jiao yi kuai dao).

As connections between every part of the body must be established for true whole body power, the 3 external harmonies can be broken down into much finer details which is cultivated by curious investigation of the body when standing and moving.

Uncle Jin Yun Ting wrote the following poem about the 6 harmonies:

The Essential Points in Xingyi Boxing’s Six Harmonies and the Extremities

The heart harmonizes with the intention;
the intention harmonizes with the Qi;
the Qi harmonizes with the power;
these are the three internal harmonies.
The hands harmonizes with the feet;
the elbows harmonizes with the knees;
the shoulders harmonizes with the hips;
these are the three external harmonies.
These together are called the six harmonies.
The left hand harmonizes with the right foot;
the left elbow harmonizes with the right knee;
the left shoulder harmonizes with the right hip,
and conversely so on the right side.
The head harmonizes with the hands;
the hands harmonize with the body;
the body harmonizes with the footwork.
Are these not also external harmonies?
The heart harmonizes with the eyes;
the liver harmonizes with the tendons;
the spleen harmonizes with the muscles;
the lungs harmonize with the body;
the kidneys harmonize with the bones.
Are these not also internal harmonies?
Are there then truly only six harmonies?
Actually, these only describe the constituent parts.
In the end, if one moves, then there are none that do not move;
if one harmonizes, then there are none that do not harmonize.
The five elements and the head, torso, and limbs can be known from this.

Li Tian Ji in his book “The art of Xing Yi boxing” has the following poem about the six harmonies:

六合哥
身成六式, 鸡腿龙身,熊膀鹰爪,虎抱雷声。
六合者,鸡,龙,熊,鹰,虎,雷,形意拳之身法,六形合为一体也。又内三合, 心与意合, 意与气合,气与力合。外三合,手与足合,肘与膝合,肩与胯合,是为六合也。

The body har six forms, rooster leg, dragons body, bear shoulders, eagle claws, tigers embrace, and the voice of thunder.
The six harmonies, rooster, dragon, bear, eagle, tiger, thunder is the body method of Xing Yi Quan and are six shapes united into one. There is also the internal three harmonies: heart unifies with intent, intent unifies with qi, qi unifies with force; and the three external harmonies: hand unifies with foot, elbow unifies with knee, shoulder unifies with hip; these together are also the six harmonies.

  1. A study of Xing Yi Quan: 不如是心始有一毫之差而終有千里之謬也。
  2. Sun Lu Tang, a study of Xing Yi Quan
  3. Sun Lu Tang, a study of Xing Yi Quan
  4. Sun Lu Tang, a study of Xing Yi Quan

形意雪片刀谱 – Xing Yi Snowflake Sabre

形式威猛,沉实迅速;劈、砍、撩、刺、蹿、跃、扑、翻,身法多变,步法轻灵,刀路变幻难测。

The form is wild, sable, solid and quick. Chop, swoop, cut, stab, jump, step, flicker, turn – the body movements changes suddenly. Footwork is lights and agile. The movements of the Sabre changes irregularly and is difficult to predict.

  1. 预备式 (Yùbèi shì)
  2. 抱刀穿掌 (Bào dāo chuān zhǎng)
  3. 白鹤亮翅 (Báihè liàng chì)
  4. 五花开门 (Wǔ huā kāi mén)
  5. 双捧手 (Shuāng pěng shǒu)
  6. 撑章 (Chēng zhāng) (三才刀)
  7. 黑虎坐洞 (Hēi hǔ zuò dòng)
  8. 闭门等式 (Bì mén děng shì)
  9. 金鸡独立 (Jīn jī dú lì)
  10. 叶里藏花 (Yè lǐ cáng huā)
  11. 推窗望月 (Tuī chuāng wàngyuè)
  12. 鹞子入林 (Yào zǐ rù lín)
  13. 妙手背斩 (Miàoshǒu bèi zhǎn)
  14. 野马跳涧 (Yěmǎ tiào jiàn) (三才刀)
  15. 白蛇吐信 (Báishé tǔ xìn)
  16. 黑虎拦路 (Hēi hǔ lánlù)
  17. 黑虎伏路 (Hēi hǔ fú lù)
  18. 猛虎守洞 (Měnghǔ shǒu dòng)
  19. 转身扑刀 (Zhuǎnshēn pū dāo)
  20. 三撇刀 (Sān piē dāo)
  1. 顺水推舟 (Shùn shuǐ tuī zhōu)
  2. 青龙回首 (Qīnglóng huíshǒu)
  3. 青龙转身 (Qīnglóng zhuǎnshēn)
  4. 青龙献爪 (Qīnglóng xiàn zhǎo)
  5. 鹞子翻身 (Yào zǐ fānshēn)
  6. 风轮刀 (Fēng lún dāo)
  7. 黑虎入洞 (Hēi hǔ rù dòng)
  8. 横扫千军 (Héngsǎo qiān jūn)
  9. 快马加鞭 (Kuài mǎ jiā biān))
  10. 螺丝刀 (Luósīdāo)
  11. 仙人背剑 (Xiānrén bèi jiàn)
  12. 白猿献桃 (Bái yuán xiàn táo)
  13. 灵猫扑鼠 (Líng māo pū shǔ)
  14. 硬解刀 (Yìng jiě dāo) (三才刀)
  15. 翻身剁 (Fānshēn duò)
  16. 古树盘根 (Gǔ shù pán gēn)
  17. 黑虎出洞 (Hēi hǔ chū dòng)
  18. 乌龙摆尾 (Wū lóng bǎi wěi)
  19. 猛虎归窝 (Měnghǔ guī wō)
  20. 收势 (Shōu shì)

Xing Yi Chun Yang Jian (形意纯阳剑 – Xing Yi Pure Yang Sword)

This is what Sun Juan Yun told me about Chun Yang Jian: The form was created by Guo Yun Shen based on the sword teachings of Li Luo Neng. Li Chun Yang is an alias for Li Luo Neng so the name of the set is a honorific reference to Guo Yun Shens teacher. Chun Yang also has a well known meaning in daoist alchemy.

  1. 预备式 (Yùbèi shì) – Preparatory stance
  2. 潜龙出海 (Qián lóng chūhǎi) – Hidden dragon emerges from the sea. alt 潜龙伏海 (Qián lóng fú hǎi)
  3. 仙人指路 (Xiānrén zhǐ lù) – Immortal points the way. alt 指路剑 (Zhǐ lù jiàn)
  4. 倒退连三剑 (Dàotuì lián sān jiàn) – Step back with 3 linked swords. alt 退步连三剑 (Tuìbù lián sān jiàn)
  5. 扑剑 (Pū jiàn) – Fluttering sword
  6. 提炉剑 (Tí lú jiàn) – Raising furnace sword
  7. 落步斜单鞭 (Luò bù xié dān biān) – Step down oblique single whip. alt 落地斜单剑 (Luòdì xié dān jiàn)
  8. 怀中抱月 (Huái zhōng bào yuè) – Embracing the moon in the arms
  9. 磨盘剑 (Mò pán jiàn) – Grinding plate sword
  10. 扑剑 (Pū jiàn) – Fluttering sword
  11. 顺水推舟 (Shùn shuǐ tuī zhōu) – Push the boat along the water
  12. 玉女穿梭 (Yù nǚ chuān suō) – Lady pierces shuttle
  13. 白猿献桃 (Bái yuán xiàn táo) – White monkey offers peach
  14. 灵猫扑鼠 (Líng māo pū shǔ) – Agile cat pounces mouse
  15. 单抡剑 (Dān lūn jiàn) – Single whirling sword
  16. 推窗望月 (Tuī chuāng wàng yuè) – Push the shutters to gaze upon the moon
  17. 定心剑 (Dìng xīn jiàn ) – Settling heart sword. alt turn body hold the bowl 转身捧 (Zhuǎnshēn pěng dú)
  18. 㓲膀 (Piān bǎng) – Cutting shoulder. alt Shoulder slice 片膀 (Piàn bǎng)
  19. 磨盘剑 (Mò pán jiàn) – Grinding plate sword
  20. 扑剑 (Pū jiàn) – Fluttering sword
  21. 顺水推舟 (Shùn shuǐ tuī zhōu) – Push the boat along the water
  22. 玉女穿梭 (Yù nǚ chuān suō) – Lady pierces shuttle
  23. 白猿献桃 (Bái yuán xiàn táo) – White monkey offers peach
  24. 灵猫扑鼠 (Líng māopū shǔ) – Agile cat pounces mouse
  25. 单抡剑 (Dān lūn jiàn) – Single whirling sword
  26. 滴鞭剑 (Dī biān jiàn) – Dropping whip sword [滴鞭式 (Dī biān shì)]
  27. 快马加鞭 (Kuài mǎ jiā biān) – Add a whiplash to speed up the horse
  28. 败式崩剑 (Bài shì bēng jiàn) – Defeated posture, bursting sword
  29. 妙手背斩 (Miào shǒu bèi zhǎn) – Cut back with subtle hand
  30. 翻江搅海 (Fān jiāng jiǎo hǎi ) – Turning river stirs the ocean
  31. 野马跳槽 (Yě mǎ tiào cáo) – Wild horse jumps in the groove  alt 野马上槽 (Yěmǎ shàng cáo)
  32. 快马加鞭 (Kuài mǎ jiā biān) – Add a whiplash to speed up the horse
  33. 败式崩剑 (Bài shì bēng jiàn) – Defeated posture, bursting sword
  34. 妙手背斩 (Miào shǒu bèi zhǎn) – Cut back with subtle hand
  35. 蜻蜓点水 (Qīng tíng diǎn shuǐ) – Dragonfly touches water
  36. 探海剑 (Tàn hǎi jiàn) – Stretching out to the sea sword
  37. 怀中抱月 (Huái zhōng bào yuè) – Embracing the moon in the arms
  38. 云摩天盘剑 (Yún mó tiān pán jiàn) – Cloud stroke heavenly revolving sword
  39. 定心剑 (Dìng xīn jiàn ) – Settling heart sword alt turn body hold the bowl 转身捧 (Zhuǎnshēn pěng dú, sista tecknet saknas)
  40. 地盘剑 (Dìpán jiàn) – Earth revolving sword
  41. 回人盘剑 (Huí rén pán jiàn) – Returning man revolving sword [中人盘剑 (Zhōng rén pán jiàn)] alt 退步人盘剑 (Tuìbù rén pán jiàn)
  42. 上步黑虎出洞 (Shàng bù hēi hǔ chū dòng) – Step forward, black tiger exists cave
  43. 转身扑剑 (Zhuǎn shēn pū jiàn) – Turn body, fluttering sword
  44. 风轮剑 (Fēng lún jiàn) – Wind whirling sword
  45. 倒劈猴 (Dào pī hóu) – Inverted cutting monkey
  46. 青龙献爪 (Qīng lóng xiàn zhǎo) – Green dragon show claws
  47. 上步黑虎出洞 (Shàng bù hēi hǔ chū dòng) – Step forward ,black tiger exists cave
  48. 三环剑 (Sān huán jiàn) – Three looping swords
  49. 青龙翻身 (Qīng lóng fān shēn) – Green dragon turns body
  50. 潜龙出水 (Qián lóng chū shuǐ) – Hidden dragon emerges from the water
  51. 青龙归海 (Qīnglóng guī hǎi) – Green dragon returns to the sea
  52. 收式 (Shōu shì) – Closing form

Zhang Zhen Hua (disciple of Sun Jian Yun) performing Chun Yang Jian:

杂式捶 – Mixed postures form

杂式捶 Zá shì chuí – Mixed postures form

  1. 预备式 (yùbèi shì) – Preparatory stance
  2. 起式 (qǐ shì) – Starting form (Low hand San Ti or ordinary san ti)
  3. 鹞子束身 (Yào zǐ shùshēn) – Hawk wraps its body
  4. 鹞子入林 (Yào zǐ rù lín) – Hawk enters the forest
  5. 猫洗脸 (退步劈拳) x4 (Māo xǐliǎn) – Cat washes face
  6. 乌龙倒取水 (Wū lóng dào qǔshuǐ) – Black dragon takes up water
  7. 凤凰单展翅 (Fènghuáng dān zhǎnchì) – Phoenix spreads a single wing
  8. 蛰龙出现 (Zhé lóng chūxiàn) – Hibernating dragon appears
  9. 黑虎出洞 (Hēi hǔ chū dòng) – Black tiger exists cave
  10. 白鹤亮翅 (Báihè liàng chì) – White crane spreads wings
  11. 炮拳式 (Pàoquán shì)
  12. 凤凰双展翅 (Fènghuáng shuāng zhǎnchì) – Phoenix double spreads wings
  13. 鹞子入林 (Yào zǐ rù lín) – Hawk enters the forest
  14. 猫洗脸 (退步劈拳) x4 (Māo xǐliǎn) – Cat washes face
  15. 乌龙倒取水 (Wū lóng dào qǔshuǐ) – Black dragon takes up water
  16. 燕子抄水 (Yànzi chāo shuǐ) – Swallow takes up water
  17. 崩拳 (Bēng quán)
  18. 青龍出水 (Qīnglóng chūshuǐ) – Green dragon exists water
  19. 黑虎出洞 (Hēi hǔ chū dòng) – Black tiger exists cave
  20. 白鹤亮翅 (Báihè liàng chì) – White crane spreads wings
  21. 炮拳式 (Pàoquán shì)
  22. 凤凰双展翅 (Fènghuáng shuāng zhǎnchì) – Phoenix double spreads wings
  23. 鹞子入林 (Yào zǐ rù lín) – Hawk enters the forest
  24. 猫洗脸 (退步劈拳) x4(Māo xǐliǎn) – Cat washes face
  25. 乌龙倒取水 (Wū lóng dào qǔshuǐ) – Black dragon takes up water
  26. 青龙探爪 (Qīnglóng tàn zhǎo) – Green dragon stretch out claw
  27. 鹰捉 (Yīng zhuō) – Eagle catch
  28. 裹手 (Guǒ shǒu) – Wrapping hands
  29. 虎扑 (Hǔ pū) – Tiger pounce
  30. 裹手虎撞 (Guǒ shǒu hǔ zhuàng) – Wrap hands and tiger bash
  31. 推窗望月 (Tuī chuāng wàngyuè) – Open window to gaze at the moon
  32. 三盘落地 (Sān pán luòdì) – Three basins lowered to the ground
  33. 懒龙卧道 (Lǎn lóng wò dào) – Lazy dragon lying on the road
  34. 乌龙翻江 (Wū lóng fān jiāng) – Black dragon redirects river
  35. 崩拳 (Bēng quán)
  36. 龙虎相交 (Lóng hǔ xiàngjiāo) – Dragon and tiger intersects
  37. 黑虎出洞 (Hēi hǔ chū dòng) – Black tiger exists cave
  38. 白鹤亮翅 (Báihè liàng chì) – White crane spreads wings
  39. 炮拳式 (Pàoquán shì)
  40. 凤凰双展翅 (Fènghuáng shuāng zhǎnchì) – Phoenix double spreads wings
  41. 鹞子入林 (Yào zǐ rù lín) – Hawk enters the forest
  42. 猫洗脸 (退步劈拳) x4 (Māo xǐliǎn) – Cat washes face
  43. 乌龙倒取水 (Wū lóng dào qǔshuǐ) – Black dragon takes up water
  44. 凤凰单展翅 (Fènghuáng dān zhǎnchì) – Phoenix spreads a single wing
  45. 蛰龙出现 (Zhé lóng chūxiàn) – Hibernating dragon appears
  46. 黑虎出 (Hēi hǔ chū dòng)
  47. 风摆荷叶 (Fēng bǎi hé yè)
  48. 鹞子钻天 (Yàozi zuān tiān) – Hawk pierces the sky
  49. 鹞子翻身式 (Yào zǐ fānshēn) – Hawk overturns body
  50. 鹞子束身 (Yào zǐ shùshēn) – Hawk wraps its body
  51. 鹞子入林 (Yào zǐ rù lín) – Hawk enters the forest
  52. 收式 (Shōu shì) – Closing form

Mai Style Heart-Intention boxing: 4 strike hammers (Si Ba Chui)

买金奎传的心意六合拳四把捶

四把: 头把横拳 挑领 鹰捉 斩手

LZS-HuGuanShan

  1. 清扑站 (Qīng pū zhàn) – Klar attack ställning
  2. 熊出洞 (Xióng chū dòng) – Björnen kommer ur hålan
  3. 猫扑鼠 (Māo pū shǔ) – Katten attackerar musen
  4. 虎坐山 (Hǔ zuò shān) – Tigern sitter på berget
  5. 虎扑把 (Hǔ pū bǎ) – Tigerknuff
  6. 猴竖蹲 (Hóu shù dūn) – Apan sträcker och sjunker ner
  7. 横拳 (Héng quán) – Vertikalt slag
  8. 鹞子入林 (Yào zǐ rù lín) – Falken flyger in i skogen
  9. 单凤朝阳 (Dān fèng zhāoyáng) – Ensam Fenix flyger mot solen
  10. 沉劈 (Chén pī) – Sjunkande hugg
  11. 挑领 (Tiāo lǐng) – Uppåtslag
  12. 鹰捉把 (Yīng zhuō bǎ) – Örngreppsslag
  13. 猫扑鼠 (Māo pū shǔ) – Katten attackerar musen
  14. 虎坐山 (Hǔ zuò shān) – Tigern sitter på berget
  15. 虎扑把 (Hǔ pū bǎ) – Tigerknuff
  16. 猴竖蹲 (Hóu shù dūn) – Apan sträcker och sjunker ner
  17. 横拳 (Héng quán) – Vertikalt slag
  18. 虎观山 (Hǔ guān shān) – Tigern ser ut över berget
  19. 提膝冲拳 (Tí xī chōng quán) – Lyft knät med fontänslag
  20. 斩手 (Zhǎn shǒu) – Skärslag
  21. 怀抱碗食 (Huái bào wǎn shí) Hålla matskålen i famnen
  22. 捧意 (Pěng yì) – Hålla intentionen
  23. 搬把 (Bān bǎ) – Flyttknuff
  24. 鹰捉把 (Yīng zhuō bǎ) – Örngreppsslag
  25. 猫扑鼠 (Māo pū shǔ) – Katten attackerar musen
  26. 大劈 (Dà pī) – Stort hugg
  27. 挑领 (Tiāo lǐng) – Uppåtslag
  28. 鹰捉把 (Yīng zhuō bǎ) – Örngreppsslag
  29. 猫扑鼠 (Māo pū shǔ) – Katten attackerar musen
  30. 提膝冲拳 (Tí xī chōng quán) – Lyft knät med fontänslag
  31. 三盘落地 (Sān pán luòdì) – Tre nivåer landar
  32. 猫扑鼠 (Māo pū shǔ) – Katten attackerar musen
  33. 虎坐山 (Hǔ zuò shān) – Tigern sitter på berget
  34. 单推把 (Dān tuī bǎ) – Enhandsknuff
  35. 塌把 (Tā bǎ) – Sjunkande händer

五行生克 – Five Elements creative and destructive form

There are two main principles for how two elements relates to one another. A certain element creates another and the same element destroys/controls another.

The creative cycle

  1. Metal creates water
  2. Water creates wood
  3. Wood creates fire
  4. Fire creates earth
  5. Earth creates metal

The destructive cycle

  1. Metal destroys wood
  2. Fire destroys metal
  3. Water destroys fire
  4. Earth destroys water
  5. Wood destroys earth
5xing-sheng-ke

Five element creative and destructive form
(Wu Xing Sheng Ke Quan)

The creatice and destructive form is a way to show how the creation and destruction of the five elements can work in practice. It is important to remember that this is a very good example but is just an example. Once we have reached the level of the ability to express all five elements in each movement we are completely free to create and destroy anything and leaves the boundaries of fixed series of movements and forms.


 

  1. Trinity stance – San Ti Shi
  2. Rear beng quan – Ao Bu Beng Quan
  3. Front beng quan – Shun bu beng quan
  4. Pao Quan
  5. Inward block – Jie Zhou
  6. Step back with chop – Tui bu pi
  7. Step back with chop – Tui bu pi
  8. Step forward with chop – Shang bu pi quan
  9. Shift step with zuan quan – Huanbu Zuan Quan
  10. Front beng quan – Shun bu beng quan
  11. Rear beng quan – Ao Bu Beng Quan
  12. Turn around – Hui Shen
  13. Wild cat climbs up the tree – Li Mao Shang Shu
  14. Wild cat climbs down the tree – Li Mao Dao Shang Shu
  15. Step forward with rear beng quan – Shang bu beng quan
  16. Green dragon leaves the water – Qing long chu shui
  17. Closing – Shou Shi

Five element creative and destructive pair form
(Wu Xing Sheng Ke Dui Lian)

Person A Person B
1 Trinity stance – San Ti Shi Trinity stance – San Ti Shi
2 Rear beng quan – Ao Bu Beng Quan Slide back with chop – Tui bu pi
3 Front beng quan – Shun bu beng quan Forward step with chop – Shang bu pi quan
4 Pao Quan Changestep with drill – Huanbu Zuan Quan
5 Inward block of elbow – Jie Zhou Front beng quan – Shun bu beng quan
6 Step back with chop – Tui bu pi Rear beng quan – Ao bu beng quan
7 Trinity stance – San Ti Shi Trinity stance – San Ti Shi
8 Closure – Shou Shi Closure – Shou Shi

Five elements linking form

The linked form connects all elements into a sequence. It clarifies the interplay between rising, drilling, lowering and overturning. As rising, drilling, lowering and overturning are all changes between yin and yang you can say that the the linked form is a study of of the connection between 5 and 2 i.e. etween the five elements and yin and yang.

1. (Qǐdiǎn bēng quán shì) – crushing strike with right hand
2. (Qīnglóng chūshuǐ) – green dragon emerges from water
3. (Hēi hǔ chū dòng) – black tiger exists cave
4. (Báihè liàng chì) – white crane spreads wings
5. (Pàoquán shì) – blasting strike
6. (Pī quán shì) – chopping strike
7. (Bāoguǒ shì) – wrapping form
8. (Límāo shàng shù shì) – wild cat climbs up the tree
9. (Bēng quán shì) – crushing strike
10. (Huíshēn) – turning, alt keep going with step 2
11-20 same as above going back

Finish is performed identically with finishing form in crushing strike.

Power (Jin)

One of the principal aspect of Xing Yi is the study and development of power. Power is Xing Yi is different from ordinary ways to think about power as it is characterized by being whole and internal.

Whole body power (Zhengti Jin) is the result of unifying the internal aspects of heart, intent, qi, physical power with the external coordination’s of hands, feet, elbows, knees, shoulders and hips resulting in a way of moving the whole organism as a coherent unit. See the section on 6 harmonies for more info.

Internal here refers to the expression of power being rooted in the heart/mind (xin yi) in such a way that instantaneously manifests when there is a spark of intent.

There are also three levels of power namely obvious (ming), hidden (an) and transforming (hua).

Power in Xing Yi at obvious power level (Ming Jin level) is mainly generated through:

  1. Moving the body

By moving the body through stepping we generate power through our body weight and also to keep the body together so that we can easier maintain whole body power. Moving the body is the art of managing ones balance and of footwork. Bear in mind that the foot steps can be very short – even shorter than inch steps (cunbu) but also very long as in rooster stepping  (jibu) where we really practise to stretch out the steps.

  1. Five bows i.e. legs, arms and back.

There are other things that also are important in power generation such as breathing, sound, intention, interest, focus, relaxation and ability to suddenly tense (similar to a sneeze), body alignment, angles, and body collaboration (how different parts of the body collaborates to maximize power while at the same time maintain balance and ability to change).

Intention and power are one in Xing Yi. When there is intention (意 yi) there is shape (形 xing) – there is no shape without intention and no intention without shape.

  1. Rotation of the hips and waist (these are part of what is traditionally spoken of as rotation of Dantien – an energy center 2 inches below the navel.

There are 5 ways to rotate the hips in Xing Yi: Horisontal turning, two forward vertical turns – forward roll and backward roll, and two sidewards vertical movements – roll over and roll under. These five can be combined into innumerable combinations and variations. It is vital that the hip movement actually generates power. If the movement is to big it inhibits both the power and the connection of the body (six harmonies) so that whole body power is broken. If it on the other hand is too small the whole body will not be engaged in the movement.

Besides the movements mentioned above there is swallow and spit (tun tu) which is something not directly related to hip movements)

Expressing power (發勁 Fa jin)

Power is expressed from any point of the body and is expressed immediately and directly. We never ”wind ourselves up” –e.g. pulls back the hand to strike. This does not mean that there are no changes such as contraction (束 shu) and expansion (展 zhan) but both contraction and expansion can be strikes (Shu shi da, zhan ye shi da). When we express power it is somewhat similar to a sneeze – from being relaxed it is like a lightning that suddenly strikes from a clear blue sky; and immediately afterwards it is completely calm and relaxed again as if nothing has happened.